RCNDLRING 


IN 


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ARCNITECTVRAL 
RCNDCniNG    IN 


PIA 


BY  fRANKpRRDT  f REDCRlCr; 

NEW  YORK 

WILLIAM  TCOMSrOCK, 

M   DCCC    XC    I  I 


ARCHITECTURAL 


RENDERING   IN   SEPIA 


Bv  FRANK  FORREST  FREDERICK 

Professor    of    Industrial    Art    and  Drsign,     University    of   Illino 


New  York 

WILLIAM    T.  COMSTOCK 

23  Warren  Street 

1892 


COPYRIGHT, 

FRANK  FORREST  FREDERICK. 
I  Sg2. 


CONTENTS 


Introduction,         -----  9 

Chiaroscuro,  -         -         -         -         -         -  11 

Composition,            -         -         "         -         "  '4 

Handling,  -         -         -         -         -         -  '7 

Materials,      -         -         -         -         -         -  -' 

Exercises,  - -' 


INTRODUCTION 


LIE  architect  inust  be  master  of  delineation,  chiaro- 
scuro and  color,  if  he  would  make  a  perfect  repre- 


T] 

scuro  and  color,  if  he  would  make  a  perfect  repre-  ^V  ''^'-''""^'=' 

^                         '  snoulcl  be  an  art- 

sentation  of  the  scene  before  him,  or  picture  the  ist. 

fancy  of  his  imagination. 

It  is  the  purpose  of  these  notes  to  point  out  to  the  student 
of  architecture  some  facts  of  chiaroscuro,  and  to  tell  him 
how  these  facts  may  be  rendered  in  washes  of  water  color 
(sepia),  that  he  may  make  the  representation  of  a  building. 

The  two  methods  of  rendering  perspectives — by  ink  lines 

Pen  inferior  to 

drawn  with  the  pen  and  by  washes  of  water  color — cannot      brush. 
be  compared.     The  means  employed  are  totally  unlike,  and 
the  results  obtained  almost  as  unlike. 

The  lack  of  truthfulness  and  the  meagre  power  of  expres- 
sion in  the  pen-rendered  perspectives  led  to  the  formation, 
in  the  School  of  Art  and  Design  of  the  University  of  Illinois, 
of  a  class  in  Sepia  Rendering,  made  up  of  students  of  archi- 
tecture. 

These  notes  contain  virtually  the  same  matter  as  is  there    i„  university  of 
given  in  class  lectures,  and  the  exercises  here  reproduced      iii'""'s- 
show  the  manner  in  which  the  work  is  taken  up. 

To  prove  that  this  method  of  rendering  is  successful  we 
have  but  to  look  at  Plates  III.,  IV.,  V.,  VI.,  VII.,  VIII.,  IX., 
X.  and  XIII.,  all  of  which  were  rendered  by  students  who  woru  of  students. 
devoted  one  term,  or  twelve  weeks  of  nine  hours  each,  to 
this  class  of  work.  Plate  III.  is  the  work  of  Ernest  N. 
Braucher  ;  Plate  IV.,  of  Charles  B.  Young  ;  Plate  V.,  Rans- 
ford  M.  French  ;  Plate  VI.,  Herbert  E.  Hewitt  ;  Plate  VII., 


lo  Architectural  Rendering  in  Sepia. 

Frederic  W.  Clarke  ;  Plate  VIII.,  Ernest  N.  Braucher  ;  Plate 
IX..  Lawrence  Fischer  ;  Plate  X.,  Walter  F.  Shattuck  ;  Plate 
XIII.,  Frederic  W.  Clarke  ;  and  to  these  gentlemen  I  extend 
my  thanks  for  the  use  of  their  drawings,  and  wish  them  un- 
qualified success  in  their  profession  as  architects. 

The  plates  not  to       It  is  not  cxpcctcd  that  the  student  will  use  these  plates  as 
be  copied.  copies,  but  rather  as  suggestions  for  his  own  work.     As  these 

drawings  are  reduced  from  the  original  size,  it  will  be  impos- 
sible to  get  the  same  effect  even  if  drawn  to  original  scale. 
The  exercises  should  be  followed,  and  the  drawings  here 
given  used  as  copies  for  method  and  effect  only. 

It  is  supposed  that  the  student  taking  up  this  work  already 

Student  must   understands  perspective,  and  is  able  to  make  an  accurate 

understand  per-  .  .,.,,.  .  ,  , 

spective.  drawmg — a  copy  of  a  buildmg,  or  a  perspective  trom  plans 

and  elevations  of  a  building  not  yet  erected.  It  is  al-so  sup- 
posed that  he  does  not  possess  a  great  amount  of  artistic 
ability,  but  is  willing,  by  hard  study  and  the  acceptance  of 
many  defeats,  to  work  through  a  series  of  exercises,  which, 
if  he  works  conscientiously,  will  enable  him  to  make  a  true 
and  graphic  picture. 
Aim  of  exercises.  j^e  g^d  and  aim  of  this  course  in  Sepia  Rendering  is  to 
prepare  the  student  for  working  directly  from  nature,  or  for 
rendering  ideal  effects  of  light  and  shade  upon  his  own  per- 
spectives. 


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ilue. 


CHIAROSCURO. 

IN  a  perspective  rendered  in  sepia  (or  any  other  mono- 
chrome),  everything  except   color — form,    character, 
relation  to  surroundings  and  position  in  space — can  be 
expressed  by  means  of  values  of  shade.      By  value   Vau. 
meaning  the  intensity  of  light  and  shade  as  compared  with 
other  parts  of  the  object,  or  accessories.     And  color  can  be 
suggested  by  giving  a  value  for  it. 

The  real  color  of  objects  is  called  their  "local  color"; 
this  local  color  is  much  affected  by  light  and  shade,  and  in- 
creases the  difficulty  of  the  architect's  problem.  It  will  be  L.uai  color. 
seen  that  the  shade  on  a  white  house  cannot  be  like  that  on 
a  red  one  ;  and  if  a  house  is  white  it  must  be  so  handled  as 
to  suggest  white  ;  if  red,  red.  To  express  this,  different 
scales  of  shade  have  to  be  adopted  when  several  buildings,  scales  >.f  value. 
unlike  in  color,  are  rendered  in  the  same  drawing,  in  order 
that  the  local  color  of  each  may  be  expressed. 

In  an  art  school,  the  student  is  placed  in  a  studio  where  a 
steady  light  falls  upon  a  cast  or  group  of  objects.  It  is  then 
pointed  out  to  him  that  the  object,  intersecting  the  light,  has 
one  side  in  light,  the  other  in  shade,  that  a  shadow  is  cast, 
and  to  truthfully  represent  this  is  the  student's  problem. 

This  is  precisely  the  problem  before  the  architect.     He  has   The  architect's 
a  building  to  represent ;  the  sun  shines  and  illumines  a  part      i'™ 
of  it,  another  part  is  in  shade,  and  a  shadow  is  cast.     The 


12 


Architectural  Rendering  ifi  Sepia. 


A  solid  buililins; 
surrounded  liy 
atm(ts[iliurc. 


Repose  demanded. 


Omit      non-c<;sen 
tials. 


position  of  the  sun  must  l)c  at  once  evident  ;  the  building 
must  appear  solid,  and  must  cast  a  shadow.  It  must  be  en- 
veloped in  atmosphere,  and  take  its  place  in  the  picture  near 
or  far,  as  the  case  may  be.  It  must  hold  proper  relation 
with  the  sky,  the  trees,  and  the  buildings  about  it.  The 
values  of  all  things  in  the  picture  must  express  not  only 
solidity,  but  color,  and  give  an  effect  of  reality. 

A  water  color  drawing  is  not  the  rival  of  a  photograph  ;  it 
should  accentuate  the  essential  and  characteristic  features, 
subordinate  detail,  and.  by  masses  of  light  and  shade,  give 
the  effect  of  repose  without  which  there  is  no  resemblance 
to  nature. 

The  architect  must  learn  to  generalize  and  to  express 
much  in  a  simple  way  ;  he  must  learn  what  to  leave  out,  as 
well  as  what  to  put  in,  to  suggest  without  fully  stating  ;  in 
fact,  he  must  not  try  to  draw  every  moulding,  every  pane  of 
glass,  every  joint  between  the  bricks,  every  leaf  on  the  tree  ; 
he  must  not  see  reflected  lights  that  cut  the  shades,  giving 
variety  where  simplicity  is  needed  ;  but  he  must  suggest  all 
these  by  rendering  his  building  in  simple  flat  washes,  with 
detail  judiciously  introduced  where  a  little  will  suggest 
much.  He  must  learn  to  sacrifice  little  things  that  the  great 
may  be  expressed. 

The  student  of  chiaroscuro  must  learn  to  look  at  things 
simply — there  is  a  mass  of  light  and  a  mass  of  shade.  These 
various  "  planes  of  shade  "  have  a  certain  shape  as  well  as 
value.  Look  at  the  building  as  made  up  of  these  planes  or 
values,  not  as  a  collection  of  walls,  towers  and  windows  ; 
and  when  working  consider  them  as  parts  of  one  whole, 
never  increasing  the  value  of  one  part  without  due  regard 
Shape  of  cast  si.ad-  to  all  othcr  parts.  Remember  that  the  shape  of  a  cast 
°'''^-  shadow  depends  upon  the  shape  of  the  object  casting  it,  and 

the  surface  over  which  it  falls  ;  and  that  shadows  are  darker 
and  more  distinct  near  the  objects  that  cast  them.     And, 


Look     at 
simplv. 


things 


C/iiarosc7tro.  13 

finally,  strive  for  "  breadth,"  which  is  obtained  by  means  of   Breadth, 
intermediate  shade,  not  by  abrupt  contrasts. 

The  facts  of  chiaroscuro  are  the  same  whether  one  color 
is  used  or  many.     The  method  of  handling  to  be  described 
applies   equally    well    to  color  rendering,   but  the  student   *'°'°'^' 
should  not  attempt  color  until  he  is  quite  skillful  in  the  use 
of  monochrome. 

An  architect  has  no  more  right  to  give  his  client  wrong   Be  truthful. 
impressions  of  color  than  he  has  of  form  or  cost. 

A  color  effect,  quite  true  to  nature,  can  be  obtained  by 
going  over  the  sepia  drawing  when   completed   with  flat 
washes  of  color.     When  this  is  done,  light  surfaces  should   coior  over  sepia. 
be  given  very  slight  values  of  sepia,  as  the  color  has  a  ten- 
jdency  to  increase  value  as  well  as  give  color. 


II. 


COMPOSITION 


Composition 
fined. 


de 


Study  nature. 


Beware   of   confu- 
sion. 


"  In  all  good  compositions  you  will  find  three  most  important  qualities — 
simplicity,  breadth  and  character — and  these  are  gained,  not  by  rules,  but  by 
feeling  for  good  drawing  and  color." — Sir  Joshua  Reynolds. 

FOR   the.  last    word  in   this  quotation  read  "value," 
and  it  will  be  equally  true. 
All  artists,  in  their  work,  consider  three  things — 
the  quality  and  position  of  lines,  the  size,  shape  and 
position  of  areas  of  dark  and  light,  and  the  color. 

The  arrangement  of  these  lines  and  areas  to  express  an 
idea  is  composition. 

The  problems  in  composition  are  as  numerous  as  the  num- 
ber of  drawings.  No  rules  can  be  given,  and  but  few  sug- 
gestions made.  Every  architect  who  makes  perspectives  of 
his  buildings  is  advised  to  observe  buildings  already  erected 
from  different  positions  and  under  different  conditions  of 
light  ;  and,  by  so  doing,  he  will  absorb  a  feeling  for  form 
and  for  light  and  shade  to  be  gained  in  no  other  way. 

Care  should  be  taken,  in  laying  out  a  perspective,  to  have 
the  most  interesting  and  prominent  features  of  the  building 
near  the  centre  of  the  drawing. 

Choose  .such  a  position  that  the  building  will  compose 
simply  without  confusion  of  members  ;  and,  where  several 
are  to  be  in  the  same  composition,  simplify  the  drawing  of 
those  in  the  distance  into  ma.sses  of  value,  for  a  confused 
composition  can  never  invite  the  attention.     Whatever  is 


Composiiion.  15 

done  be  truthful  ;  the  building  in  the  picture  must  have  tne 
same  scheme  of  light  and  shade  that  it  will  have  in  nature  ; 
that  is,  the  shadows  must  be  cast  in  the  same  direction  that 
they  will  be  cast  by  the  sun,  even  if  we  have  to  sacrifice 
something  of  interest  in  the  drawing. 

The  part  of  composition  that  particularly  concerns  the 
student  of  Architectural  Rendering  in  Sepia  is  the  treat- 
ment of  light  and  shade. 

It  is  the  province  of  light  and  shade  to  give  solidity  and  Light  and  shade. 
an  effect  of  reality  to  the  drawing ;  to  bring  out,  by  the 
various  values,  the  proportion  of  the  building  ;  and  by  its 
shadows  of  cornice,  gable  and  projection  add  interest  and 
beauty.  It  is  also  the  province  of  light  and  shade  to  coun- 
teract any  disagreeable  tendency  of  line,  ^nd  to  set  forth  the 
beauties  of  the  building  in  every  legitimate  way. 

It  is  a  mistake  to  make  much  of  the  accessories. 

The  architect  is  not  a  painter  of  scenery,  and  he  is  lessen-  simplify  accesso- 
ing  the  effect  of  his  work  by  burying  it  in  imaginary  foliage, 
or  surrounding  it  by  Arcadian  landscape,  which  outweighs 
in  interest  the  building  itself.  He  should  add  truthful, 
agreeable  and  proper  surroundings  suggesting  the  location, 
and  these  should  be  treated  as  a  foil  to  enhance  the  beauty  , 
and  add  to  the  interest  of  his  building^. 

A  good  atmospheric  effect  can  be  obtained  by   making 
the  sky  grade  to  light  near  the  horizon,  and,  if  masses  of   The  sky. 
foliage  flank  the  building,  make  them  lighter  than  the  build- 
ing  on  the  shade  side  and  darker  on  the  light.    • 

Horizontal  clouds  growing  nearer  together  as  they  ap- 
proach the  horizon  give  an  effect  of  distance  ;  a  sky  so 
treated  as  to  be  dark  at  the  horizon  and  grade  upward  will 
give  an  effect  of  height  to  the  building. 

If  the  building  is  simple  and  expressed  in  large  masses  it 
is  well  to  give  variety  to  the  sky  by  cloud   forms;  if  it  is    Contrast  (if  sky 

1  1  111  I   •  *^"^  huilding. 

complex  and  cuts  the  sky  by  many  chimneys,  towers,  etc., 


1 6  Arcliitechiral  Rendering  in  Sepia. 

the  sky  should  be  simple.  Where  Uttle  sky  is  seen,  it  should 
be  expressed  by  a  flat  wash. 

To  prevent  a  heavy  and  mechanical  effect,  equal  quanti- 
ties of  light  and  shade  should  be  avoided. 

Generally  it  will  be  found  better  to  have  more  space  about 
the  lig^ht  than  the  shade  side. 

Beware  of  long  continued  lines,  as  a  cornice ;  break  them 
by  a  play  of  light  and  shade. 


F 


III. 


HANDLING. 

"^IRST  strain  the  paper,  though  if  the  accessories  in- 
troduce distant  hills,  masses  of  foliage,  etc.,  it  will 
be  well  to  first  draw  the  general  outline  of  the 
building  and  wash  in  the  distance  while  the  paper  is 


moist.  The  sky  can  be  put  in  when  the  paper  is  in  this  state  study  the  subject 
without  fear  of  hard  edges,  and,  when  the  paper  is  dry,  com-  ^^iL  ^^^" 
plete  the  drawing. 

"  Modern  Dutch "  methods  cannot  be  successfully  em- 
ployed in  architectural  rendering. 

The  student  should  make  a  very  careful  drawing.  Wher- 
ever there  is  width  or  thickness,  lines  should  be  drawn  to 
express  it.  Such  small  lines  as  the  joints  between  bricks, 
stones  or  slates  should  not  be  drawn  in  pencil. 

The  student  will  find  it  much  easier  to  cover  some  un- 
necessary lines  when  laying  washes,  than  to  determine  the  The  drawing. 
shape  and  area  of  washes  without  lines  to  aid  him.  As  he 
gains  command  over  his  materials,  he  will  depend  more  and 
more  upon  his  brush,  until,  when  rendering  simple  build- 
ings, the  principal  long  vanishing  lines  and  a  few  verticals 
to  give  widths  will  be  all  that  he  will  require  ;  the  drawing 
will  be  made  largely  with  the  brush.  Oraw  win.  i.rush. 

Exercise  great  care  in  selecting  the  pencil.  Lines  drawn 
upon  water-color  paper  must  have  strength  enough  to  be 
seen  clearly  even  through  light  washes,  but  must  not  soil 
the  paper  or  wash  about  under  the  brush.     The  pencil  must    The  pencil. 


l8  Architcctit7-al  Rendering  in  Sepia. 

not  be  hard  enough  to  cvit  channels  in  the  paper,  as  these 
will  fill  with  color  and  leave  lines. 

Experience  alone  will  show  the  proper  grade  of  pencil  to 
use.  Erase  as  little  as  possible  on  water-color  paper,  and 
that  with  a  soft  eraser,  that  the  texture  of  the  paper  may 
not  be  destroyed. 

In  the  finished  drawing  no  lines  whatever  should  be  seen. 
We  see  buildings  as  masses  of  value  relieved  against  each 
other  by  their  value,  not  by  their  outline.  We  realize  that 
one  wall  is  nearer  than  another  because  it  appears  lighter  or 

No  outlines  in   darker  ;  there  is  no  line  where  these  values  meet,  therefore 
nature.  ^^^  exprcss  thcsc  surfaccs  by  laying  washes  of  proper  value 

side  by  .side,  and  not  by  drawing  lines  where  these  values 
meet. 

The  drawing  completed,  pass  over  the  paper  with  a  large 

Wet  the  paper  brush  or  soft  spougc,  wctting  the  entire  surface,  and  at 
once  take  up  the  superfluous  water  with  blotting  paper  or  a 
soft  cloth.  If  a  large  surface  is  to  be  covered,  it  is  well  to 
leave  the  damp  cloth  on  the  lower  part  of  the  sheet,  that 
the  paper  may  not  dry  before  it  is  reached. 

A  flat  wash  To  lay  a  flat  wash,  incline  the  board  slightly  and,  while 

the  paper  is  yet  damp,  with  brush  full  of  color  pass  along 
the  upper  edge  of  the  space  to  be  covered,  whether  large  or 
small,  forming  a  pool  or  wave  of  color.  Keeping  the  brush 
full  and  holding  it  at  right  angles  to  the  paper,  coax  this 
wave  to  flow  slowly  down  the  paper,  keeping  it  moving 
evenly  and  allowing  no  part  to  .stand  longer  than  another. 

On  no  account " drag "  the  color  or  try  to  "paint  it  on," 
but  let  it  settle  on  the  paper  as  the  wave  passes  over  it. 
When  the  lower  edge  of  the  space  is  reached,  take  up  the 
superfluous  color  with  blotting  paper  or  dry  brush.  Never 
paint  "  up  hill." 

The  .student  is  advised  to  mix  his  pigment  in  a  cup,  or 
other  receptacle  larger  than  the  compartments  in  the  cover 


Handli7ig. 


19 


cnt  effect. 


Keep    t  li  e    brush 
full  of  color. 


of  the  water-color  box.     It  is  better  to  throw  away  a  httle 
sepia  than  to  spoil  a  drawin*^. 

Blotting  paper  cut  into  rectangles  about   i>^"x3"  will  be    isiotting  paper. 
found  the  most  convenient  size. 

Strive  to  have  the  values  transparent.  Get  the  value  right  Keep  a  transpar 
by  trying  it  on  a  paper  aside,  remembering  it  will  dry 
lighter  than  it  seems  when  wet;  put  it  on  and  let  it  sta)-, 
never  touch  into  a  value  when  wet ;  s^et  the  ed^es  x\<y\v\.  as 
the  area  is  covered.  Do  not  pass  hurriedly  over  corners  and 
slightly  projecting  mouldings,  in  the  hope  that  they  can  be 
corrected  later.  The  ruinous  condition  suggested  by  angles 
so  handled  will  increase  with  each  succeeding  wash. 

Always  keep  the  brush  full  of  color;  beware  of  the  "cut 
and  dried  "  appearance  resulting  from  lack  of  water  in  the 
washes ;  get  dark  accents,  not  by  dragging  on  thick  color, 
but  by  wet  touches  of  dark  value  allowed  to  dry  out.  (See 
handling  of  upper  part  of  tower,  Plate  IV.) 

Do  not  be  afraid  of  losing  the  drawing.  If  the  roof  and 
sky  look  the  same  value,  make  them  so  ;  they  can  be  dis- 
tinguished later.  Study  to  cover  as  much  area  with  each 
wash  as  possible  ;  this  saves  time  and  gives  a  feeling  of  unity 
by  binding  together  the  several  parts  of  the  drawing. 

Do  not  try  to  make  the  water-color  resemble  a  photo- 
graph, a  lithograph,  a  pen  and  ink  drawing,  or  an  oil  paint- 
ing.   It  has  a  character  of  its  own — keep  it. 

The  student  is  advised  to  lay  several  values  of  various  sizes 
and  intensity  before  taking  up  the  work  of  the  Exercises. 

In  rendering  Plate  I.,  the  first  thing  to  decide  was  the 
position  of  the  sun.  This  was  taken  as  it  appears  in  the 
early  morning,  that  the  simplest  side  of  the  building  might 
be  in  shade,  that  the  vertical  shadows  on  the  front  might 
have  a  width  to  properly  express  the  projections,  and  that 
the  interesting  .shadows  across  the  roof  might  be  seen.  It 
is  m^uch  easier  to  render  a  surface  cut  up  b\-  projections 
when  it  is  in  litrht  than  when  in  shade. 


A  sepia  dra\\'ing 
has  a  character 
of  its  own. 


Trinciples 
trated. 


iUus- 


20  A7'cliitcchiral  Rendering  in  Sepia. 

Plate  I.  In  Plate  I.  the  roof  was  given  a   medium  value,  except 

where  it  was  thought  the  light  would  be  reflected  most  di- 
rectly to  the  eye  ;  here  it  was  left  Hght,  as  the  gable  on  the 
shade  side,  and  the  pyramidal  roof  over  the  centre,  which 
was  left  quite  light  in  order  to  give  contrast  to  the  shade 
and  shadow  of  the  gable  in  front.  The  apex  itself  is  given 
relief  by  being  opposed  to  the  cloud  form  behind  it.     These 

Lead  the  eye  into   clouds  wcrc  put  in  in  their  present  direction  to  counteract 
the  picture.         ^j^^  influence  of  the  long  lines  of  the  building,  which  slant 
down  to  the  left  and  have  a  tendency  to  lead  the  eye  of  the 
spectator  out  of  the  picture. 

Lono-  horizontal  and  all  lines  which  lead  the  eye  from  the 
centre  of  interest  must  be  avoided,  and  values  which  detract 
from  the  point  of  greatest  contrast  must  also  be  avoided. 
This  point  of  greatest  contrast  of  value  is  usually  the  near- 

createst    contrast   cst  comcr  of  the   buildiug.     (Scc   Plate   I.)     This  corner, 

of  value.  uhich  should  be  near  the  centre  of  the  drawing,  should  be 

lightest  and   brightest  ;    and  all  values  should  increase  as 

they  go  away  from  this  point  on  the  light  side  and  decrease 

on  the  dark  side,  that  a  uniformity  ol  value  may  be  obtained 

Aerial  perspective,  for  the  distancc,  thus  fulfilling  the  demands  of  aerial  per- 
spective, which  requires  a  blurring  of  outline  and  subduing 
of  contrast  to  give  an  atmospheric  effect. 

About  the  centre  of  interest,  draw  mentally  a  circle  or  an 
ellipse,  as  the  shape  of  the  composition  may  suggest  (as  is 

Keep  the  corners   skctchcd  on  Plate  XL,  Fig.  2),  and  let  the  values  without  this 
^'g'^'-  be  comparatively  light.     By  keeping  the  pronounced  con- 

trasts out  of  the  corners  we  force  the  eye  where  we  wish  it — 
to  the  centre  of  interest. 

The  point  of  greatest  contrast  must  not  be  taken  to  mean 
the  contrast  of  the  dark  spots  in  windows  or  doors,  for 
these,  while  useful  as  accents,  are  in  no  sense  necessary  to 
the  light  and  shade  effect,  as  will  be  shown  later. 

Other  matters  of  composition  will  be  considered  in  the 
Exercises. 


IV. 

MATERIALS. 

THE   best   materials  are  the    cheapest.     Whatman's 
medium  weight  water-color  paper  is  the  best  for 
general  use.     A  picturesque  subject,  handled  by 
one  accustomed  to  the  work,  can  be  well  rendered 
on  the  very  rough  paper.     Small  sketches  and  simple  build- 
ings are  well  rendered  on  any  drawing  paper  that  does  not   The  paper. 
have  a  calendered  surface. 

The  brush  for  work  of  this  description  should  be  large  and  The  brush. 
of  good  quality,  red  sable  or  camel's  hair.  When  dry  it 
should  be  about  an  inch  long  and  one-fourth  inch  in  diam- 
eter. When  wet  it  should  come  to  a  perfect  point  and  be 
elastic  enough  to  spring  back  into  shape  after  having  been 
pressed  against  the  paper.  A  brush  without  elasticity  can- 
not be  used  ;  the  point  of  a  brush  may  be  improved  by 
being  carefully  washed  after  use  and  then  drawn  through 
the  lips.  The  saliva  will  hold  the  hairs  in  place  and  quickly 
dissolve  when  the  brush  is  again  wet. 

For  pigment  use  Winsor  &  Newton's  make.  Pigments. 

Payne's  gray,  neutral  tint,  brown  madder,  burnt  sienna, 
India  ink  and  cold  sepia  are  often  used,  but  warm  sepia  is 
the  general  favorite. 

A  little  carmine  mixed  with  India  ink  gives  a  photograph 
tint. 


V. 


EXERCISES. 


EXERCISE   I. 


FOR    PRACTICE   IN   TRANSLATING  THE   VALUES   OF   A    PHOTOGRAPH 
INTO     VALUES     OF     SEPIA. 


s 


Select  simple  sub-    /^"^  ELECT  a  photograph  of  some  simple  building,  one 
^'"''*'  ^^^^      that  has  large  uninterrupted   masses  of  light  and 

shade,  and  with  little  in  the  way  of  foliage  or  of 
other  buildings  about  it — as  Plate  II. 
If  the  subject  is  too  complex,  it  will  be  difficult  to  appreci- 
ate the  values  of  shade,  and  the  difficulty  of  handling  the 
washes  of  color  will  take  more  time  than  is  worth  giving 
the  first  exercise. 

If  a  photograph  is  not  at  hand,  take  a  reproduction  from 
one  of  the  architectural  magazines.  The  tendency  in  all 
reproductive  processes  is  toward  uniformity  in  value,  and 
even  a  photograph  is  not  a  perfect  guide.  Many  quite  clear 
photographs,  if  rendered  in  sepia  with  the  same  contrast  of 
light  and  shade,  would  be  flat  and  uninteresting,  lacking  the 
sparkle  of  sunlight.  It  is  often  necessary  to  make  near  light 
Force  the  lights,  surfaccs  lighter  than  they  appear,  to  leave  out  reflected 
lights,  and  to  make  dark  areas  in  the  distance  much  lighter. 
The  student,  of  course,  will  not  endeavor  to  represent  all 
the  minutiae  of  the  photograph,  but  will  simply  strive  to 
render  the  spirit  of  his  subject  in  the  medium  at  hand. 


Exercises. 


The  size  of  the  drawing  will  depend  upon  the  subject,   size  of  drawing. 
Most  of  the  plates  (notice  original  sizes)  were  drawn  from 
7x9"  reproductions  of  photographs. 

Make  the  drawing  as  already  directed,  and  study,  the 
subject  carefully,  keeping  in  mind  that  the  whole  thing  is 
to  be  represented  by  a  few  flat  washes ;  each  wash  covering  au  cxpresscci  by 
less  space  than  its  predecessor,  until  from  covering  th(- 
whole  paper  it  will  have  decreased  to  the  size  of  the  small- 
est dark  touch  required  to  give  accent  to  some  small  detail. 

Observe  the  direction  of  the  light ;  the  position,  area  and    study  the  subject, 
intensity  of  the  shades  and  shadows  ;  the  position  of  the 
darkest  spot  on  the  building  and  the  lightest ;  the  relative 
value  of  the  roof  compared  with  the  light  and  dark  walls. 

Think  what  motion  the  hand  will  take  to  cover  irregular 
areas ;  decide  upon  the  best  position  to  hold  the  board  (it  is 
easier  to  carry  a  wash  from  an  angle  to  a  straight  line  than 
vice  versa). 

Decide  how  many  different  values  will  be  required  to  ex- 
press certain  parts,  and  settle  upon  the  shapes  of  these 
values,  remembering  that  it  is  always  advisable  to  cover  all 
surfaces  that  are  of  about  the  same  value  at  the  same  time. 

Study  everything  relating  to  the  problem  with  the  utmost 
care  ;  plan  it  out,  for  later,  with  brush  in  hand  and  washes 
of  color  drying,  there  will  be  little  time  for  thought. 

Compare  your  problem  with  the  drawings  here  repro- 
duced, and  see  if  schemes  of  light  and  shade  there  carried 
out  can  be  applied  to  the  problem  in  hand. 

Having  studied  his  subject,  the  student  is  ready  to  pro- 
ceed with  the  rendering,  but  before  doing  so  he  is  advised 
to  read  the  notes  relating  to  all  the  exercises. 

The  method  is  as  follows  : 

First. — Wet  the  paper  as  directed. 

Second. — Lay  over  the  entire  paper  a  very  light  wash — 
lighter  than  is  seen  in  plate  II. — leaving  the  white  paper  to 


Read  the  notes. 


24  Arcliitcctitral  Rendering  in  Sepia. 

Highlights.  represent  white   clouds   and    the   highest    hghts    upon    the 

building,  whether  shown  on  the  photograph  or  not,  in 
order  to  get  a  proper  effect  of  sunlight ;  but  such  white 
places  should  be  used  sparingly,  and  only  on  the  nearest 
exposed  corners,  or  mouldings,  or  in  windows,  and  never  on 
the  shade  sides  or  in  the  distance. 

It  will  be  noticed  that  the  highest  lights  and  brightest 
surfaces  are  generally  directly  opposed  to  the  darkest 
surfaces. 

This  light  wash  should  go  over  the  entire  paper  to  cover 
all  white  not  wanted  for  high  lights,  and  to  give  a  surface 
upon  which  darker  values  can  be  easily  washed.  All  values 
of  sky,  ground,  etc.,  should  be  carried  farther  from  the 
building  than  wanted,  that  the  completed  drawing,  when 
cut  out,  may  appear  finished  at  the  edges. 

It  will  be  well  for  the  student  to  carefully  study  the 
plates,  noting  the  position  of  the  high  lights  in  each. 

Third. — Decide  upon  the  relation  of  the  building  to  the 
Plate  II.  sky,  whether  darker  or  lighter.     In  Plate  II.  the  mass  of  the 

building  was  to  be  darker  than  the  sky,  and  a  light  wash 
(see  roof)  was  passed  over  the  entire  building,  the  street, 
and  the  other  buildings  to  right  and  left,  leaving  the  white 
lights  and  some  of  the  first  value  in  the  windows  of  the 
light  side  to  suggest  the  play  of  light  on  the  glass. 

Some  of  the  first  light  value  was  left  upon  the  sidewalk 

to  contrast  with  the  shade  and  express  sunshine.     The  steps 

also  were  left  of  the  original  value.     It  is  well  to  let  the 

Express  form  by   shapc  of  vcry  Small  surfaces,  especially  when  in  light,  be 

shadows.  shown  by  the  shape  of  shadows  falling  across  them.     (See 

Plates  I.  and  V.) 

Keep   the   lights        Lights    lost    Can  ncvcr  be  regained  ;   scratched  paper  or 

from  the  first,      Chinese  white  will  not  give  a  true  effect. 

Great  care  should  be  exercised  in  bringing  washes  up  to 
the  bright  lights,  that  the  washes  do  not  all  stop  at  the  same 


Exercises.  2  5 

place,  giving  the  light  the  effect  of  a  line  of  white  painted 
on  the  building  instead  of  the  brightness  of  reflected  light. 
If  several  washes  are  to  be  laid  each  can  stop  a  little  farther 
from  the  light  and  so  give  a  graded  effect.  If  a  dark  wash 
is  to  be  brought  up  to  a  light,  as  sometimes  happens  even 
on  light  sides,  a  piece  of  blotting  paper  w  ith  straight  edge 
can  be  placed  on  the  paper,  and  enough  color  removed  to 
give  a  proper  gradation. 

Fourth. — Put  in  the  darkest  spot.  This  will  probably  be 
a  doorway  or  window.  There  should  be  one  principal 
dark,  and  this  should  be  as  dark  as  sepia  can  make  it. 

Now,  having  the  lightest  place  in  the  drawing  represented 
by  white  paper  and  the  darkest  by  a  full  tone  of  sepia,  we  '"'«  darkest  spot. 
can  grade  between  these  two  extremes.  Constantly  refer 
to  the  white  and  dark,  for,  knowing  that  nothing  can  be 
lighter  or  darker,  we  must  exercise  care  in  laying  the  inter- 
mediate values. 

The  contrast  of  light  and  dark  gives  brilliancy,  but  it  must 
be  remembered  that  it  is  the  masses  of  intermediate  shade     'hrinight"'^''  " 
that  give  the  effect  of  solidity  and  truth. 

Only  the  darkest  spot  is  to  be  shown  at  this  stage  of  the 
work.  When  the  drawing  is  ready  for  the  detail,  this  dark 
can  be  repeated  in  decreasing  values  as  the  edge  of  the 
drawing  is  reached.  But  do  not  have  several  very  dark 
places,  for  a  spotted  drawing  gives  the  effect  of  unrest.  Let  Do  not  make  a 
the  dark  values  lead  up  to  the  dark  spot,  as  the  light  ones 
do  to  the  white. 

A  light  value  cannot  be  washed  over  a  dark  without  float- 
ing some  of  the  dry  pigment.  It  is  therefore  necessary  to 
place  this  dark  w'ith  care  that  it  may  not  interfere  with 
future  washes. 

In  Plate  II.  the  darkest  spot  was  seen  to  be  the  doorway, 
and  this  was  put  in  as  shown  ;  first,  all  the  opening  was 
covered  with  a  dark  value,  then  the  space  beyond  was  given 


spotted    draw- 
ing. 


26  Architcciural  Rendering  in  Septa. 

To  get  the  full  the  cfFcct  of  depth  by  allowing  a  pool  of  sepia,  slightly 
strength  of  se-  ^j^j^^^^j  ^^j^j^  ^.^e  watcr,  to  dry  out.  In  large  areas,  the 
board  must  be  held  perfectly  horizontal  that  the  pigment 
may  settle  evenly  as  the  water  evaporates.  (See  door  in 
Plate  I.,  and  space  in  broken  wall  of  monument  in  Plate 
VIII.) 

Fifth. — Express  the  mass  of  the  building  by  laying  over 
The  shade.  shades  and  shadows  a  value  that  will  represent  the  average 

intensity  of  shade. 

In  Plate  II.  the  value  of  the  block  of  houses  to  the  right 
was  taken  as  that  of  the  average  intensity,  and  a  value  laid 
over  all  shades  and  shadows.  The  same  value  was  also  car- 
ried over  the  street. 

A  value  was  then  prepared  dark  enough  to  give  proper 
contrast  with  the  light  side,  and,  turning  the.  board 
slightly,  the  wash  was  put  on,  beginning  with  the  gable  and 
extending  over  the  first  building  beyond,  covering  both 
shade  and  shadow. 

As  this  wash  progressed  a  little  clear  water  was  added  to 

the   cup  of  pigment,   from  time  to  time,  giving  a  graded 

Agra  e   \a ue.      ^.^j^g — ^.^^\^  j^g^j.  ^^  light,  and  lighter  as  the  wall  recedes. 

A  value  about  equal  to  the  centre  of  the  wall  in  shade  was 
put  over  the  circular  projection  and  its  shadow. 

Upon  the  success  of  these  values  depends  the  success  of 
the  drawing. 
,       Too  much  stress  cannot  be  laid  upon  the  importance  of 

Importance  of  '  * 

masses  of  shade,  realizing  the  masses  of  shade.  If  the  student  does  not 
grasp  the  fact  that  objects  are  expressed  by  value  and  not 
by  outline,  that  detail  must  be  subordinated  that  the  gen- 
eral effect  may  be  true,"  he  will  not  be  successful. 

These  dark  values  must  express  not  only  shade,  but  much 

of  the  detail  in  shade.     The  play  of  light  on  glass  must  not 

Think  of  the  last    ]-,£  forgottcu,  and  window  casings,  ornament,  etc.,  can   be 

f^rstismade.        cxprcsscd   by  leaving  uncovered  parts  of  the  first  washes. 

(See  Plate  1.) 


Exercises.  27 

Plate  II.  is  not  carried  beyond  this  stage  in  order  that  the 
treatment  of  masses  of  shade  may  be  better  reahzed. 

When  the  student  first  takes  up  this  class  of  work  he  has 
difficulty  in  realizing  the  depth  of  value  necessary  to  express 
shade  and  shadow  ;  almost  invariably  he  makes  them  too 
light. 

Sixtli. — Increase  the  values  where  necessary.  Let  no  two 
surfaces  be  of  the  same  value.  Beginning  with  the  shade 
surface  nearest  the  light,  let  the  surfaces  gradually  grow  variety, 
lighter  and  simpler  as  they  are  more  distant  ;  and  on  the 
light  side  let  the  surfaces  grow  darker.  This  will  give  an 
atmospheric  effect. 

It  frequently  happens,  especially  with  students  who  have    Lack  of  freedom. 
been  drawing  a  "  Plate  of  Orders,"  that  the  drawing,  when 
it  reaches  this  stage,  has  a  very  hard  and  crisp  appearance, 
apparently  representing  a  building  of    cardboard,  and    is 
without  a  trace  of  feeling  of  atmosphere. 

This  appearance  is  obviated  by  applying  the  washes  with 
more  freedom,  and  remedied  by  going  over  different  sur- 
faces, or  parts  of  surfaces,  with  washes  of  almost  impercep- 
tible value,  and  by  laying  broken  washes — irregularly  over  Broken  values. 
roof  and  walls — across  from  one  surface  to  another,  without 
any  attempt  to  blend  edges.  This  gives  a  play  of  light,  and 
is  always  successful  if  not  put  on  too  dark.  (See  Plate  I., 
where  such  touches  were  used  to  good  advantage.) 

A  transparent  effect  is  obtained,  when  a  dark  wash  is  put 
over  a  light,  by  leaving  small,  irregular  areas  of  the  first 
wash  to  give  life  to  the  second.  In  this  way  material  can 
often  be  expressed  and  the  scintillations  of  the  light  sug- 
gested.    (See  Plate  V.  for  example  of  this  handling.) 

Much  of  the  freedom  in  the  handling  of  Plate  IV.  is  ob- 
tained by  the  irregularity  of  line,  resulting  from  drawing 
with  the  brush.  This  is  an  excellent  practice  for  those  who 
understand  rendering  in  water  color,  but  should  not  be  at- 
tempted until  skill  has  been  attained. 


28 


Architectural  Rendering  in  Sepia. 


Avoid     indistinct- 
ness. 

The  sponge. 


Hard  edges. 


Most  to  be  avoided  is  the  drawing  laboriously  worked 
over,  and  rendered  by  a  multitude  of  light  washes,  with 
edges  washed  and  blotted  into  indistinctness.  If  a  value  is 
too  dark  or  "  muddy,"  it  is  sometimes  necessary  to  sponge 
it  off  by  wetting  the  paper,  and  lifting  the  color  by  repeated 
dehcate  touches  of  a  soft  sponge. 

But  much  of  the  irregularity  of  edge,  especially  in  first 
washes,  will  not  be  noticed  when  the  drawing  is  finished. 
While  the  first  two  or  three  washes  are  being  handled,  the 
paper  can  be  wet  as  at  first,  allowing  washes  to  flow  evenly. 
If  the  edge  is  too  hard,  it  can  be  reduced  by  drawing  clean 
water  over  it  to  dissolve  it,  and  then  lifted  by  applying  the 
blotter  ;  but  strive  to  lay  washes  without  hard  and  irregular 
edges. 

It  sometimes  happens  that  the  sepia  does  not  dissolve,  but 
settles  upon  the  paper  in  visible  particles.  If  this  occurs  in 
the  sky  or  distant  landscape,  it  should  be  sponged  off  at 
once,  but  it  often  gives  a  good  texture  to  foregrounds  or 
near  stone  work. 

Seventh. — When  all  values,  except  cast  shadows,  are 
found  to  be  of  proper  intensity,  these  should  be  washed  in. 

If  it  cannot  be  determined  whether  the  shadows  are  dark 
enough,  put  photograph  and  drawing  off  at  a  great  distance 
and  compare  the  two  ;  or  hold  them  before  a  mirror ;  or 
Use  of  diminish-   compare  them  through  a  diminishing  glass. 

ing  glass. 

Cast  shadows  should  be  put  in  perfectly  flat,  not  worked 
over,  and  dark  enough  the  first  wash.  Notice  the  shadow 
cast  by  the  bridge  in  Plate  III.,  by  the  porch  in  Plate  V.,  by 
the  invisible  balcony  in  Plate  VI.,  and  by  the  cornice  of  the 
monument  in  Plate  VIII. 

Eighth. — Indicate  the  detail. 

Students  invariably  make  the  mistake  of  putting  in  the 
Finishing.  details  before  the  masses  of  shade  have  been  brought  up  to 

the  proper  value. 


The  shadows. 


Exercises.  29 

All  color,  up  to  this  point,  should  have  been  put  on  in  flat 
washes  ;  but  the  drawing  is  now  far  enough  advanced  to 
permit  the  grading  of  values  here  and  there  on  roofs,  etc., 
and  of  working  up  details  to  any  degree  of  finish  wished. 

A  o-eneral  rule  to  follow  for  the  rendering  of  details  is  to   Rule  for  rendering 
omit  all  that  can  be  omitted,  and  to  express  the  rcmamder 
in  the  simplest  possible  manner ;  many  of  them  can  be  ex- 
pressed by  flat  washes. 

Window-caps,  belt  courses,  voussoirs  of  arched  openings, 
the  finish  on  wooden  houses,  etc.,  can  be  expressed  by  being 
made  a  little  darker  or  lighter  than  the  walls  around  them. 
(See  Plate  I.) 

Surfaces  in  shadow  show  little  detail.  This  is  also  true 
of  those  exposed  to  bright  light.    Detail  is  most  clearly  seen   detail  seen  in  half 

'  00  lights. 

in  intermediate  values. 

Do  not  rely  upon  detail  to  give  the  efi'ect.  Dark  lines  and 
spots  can  never  take  the  place  of  values. 

Express  the  mouldings  simply.  Remember  that  the 
joints  in  the  brick  and  stone  work  really  show  not  at  all 
compared  with  the  important  lines  of  the  building ;  treat  all 
carving  simply,  and  let  the  detail  of  the  window  be  very 
simply  and  broadly  treated.     (Study  Plate  V.) 

Before  any  of  the  detail  is  indicated,  the  drawing  should 
fully  express  the  essential  parts  of  the  building,  i.e.,  its 
mass,  outline  and  the  effect  of  light  upon  it. 

The  drawing  should  now  be  in  such  a  condition  that  if  r^'^'='>' ""'  "<^'=<'^<^- 
worked  on  no  longer  it  would  yet  tell  its  story.  If,  how- 
ever, the  play  of  light  on  a  window  can  be  indicated, 
accents  placed  under  the  mouldings,  very  small  shadows 
put  in  and  details  of  carving  brought  out — if,  in  fact,  the 
right  touches  can  be  put  in  the  right  places  and  in  the  right 
way,  our  drawing  will  be,  not  the  work  of  a  draughtsman, 
but  the  work  of  an  artist. 

FoUowino:  out  the  above  order  of  work,  Plate  II.  would 
be  completed  as  follows  : 


30  ArcJiitcctuTal  Rcndcrijig  ill  Sepia. 

To  finish  Plate  11.  SixtJi. — If  the  detail  was  now  rendered  the  building 
would  have  no  substance,  would  not  have  the  effect  of 
reality.  The  different  surfaces  must  expi^ess  themselves, 
and  the  building-  must  stand  out  from  the  sky  and  the  dis- 
tance as  it  does  in  nature. 

A  value  should  be  put  over  the  roof  on  the  light  side, 
and     the     conical    roof    should    receive    a    value    graded 
toward  the  light.    The  roof  on  the  shade  side  should  receive 
a  tender  value  against  the  sky,  but  most  of  it  should  remain 
,7  as  at  present  to  suggest  the  path  of  the  light  across  the 

building.  A  broken  value  should  pass  over  the  light  side, 
and  the  ventilators  should  receive,  attention,  the  values  of 
the  nearer  being  much  the  darker.  The  buildings  in  the 
distance  should  be  treated  like  those  in  Plates  VIII.  and 
IX.,  and  a  stronger  value  given  the  street  in  the  fore- 
ground. 

Seventh. — The  cast  shadows  should  now  be  washed  in. 
Begin  with  the  narrow  shadow  of  the  building  upon  the  end 

Shadows  must  be  of  the  block  of  houscs,  bring  this  down,  and  draw  the  nar- 
row shadow  of  them  all  across  the  sidewalk,  letting  the 
value  grow  lighter  as  it  grows  more  distant.  A  pool  of 
color,  to  act  as  accent,  should  be  left  to  dry  out  where  the 
shadow  meets  the  nearest  vertical  corner  of  the  building. 
(See  shadow  of  monument,  Plate  VIII.) 

The  shadow  of  the  projection  should  be  perfectly  flat 
where  it  falls  on  the  wall,  but  should  grade  into  the  shade 
to  assist  in  expressing  the  cylindrical  form.  Always  make 
the  most  of  anything  that  will  aid  the  perspective,  either 
lineal  or  aerial. 

Let  the  cast  shadow  of  the  edge-stone  of  the  sidewalk  be 
quite  dark  in  the  foreground,  and  of  the  same  value  as  the 
cast  shadow  it  runs  into  in  the  distance. 

If   possible,  the    drawing  should    now  be    put,  away  for 

Rest  the  eyes.         scvcral  hours.     When  it  is  again  taken  up,  the  eye,  having 


Plate  III 


Exercises.  3 1 

looked  at  other  things,  can  better  see  if  the  values  are  of 
proper  intensity. 

Eighth. — With  the  exception  of  the  windows  very  Httle 
detail  is  needed  to  give  proper  character  to  the  building. 

See  the  plates  for  method  of  rendering  cornice,  roof,  etc. 

The  windows  in  this  problem  should  be  treated  similarly 
to  those  in  Plate  I.,  the  nearer  drawn  quite  fully,  then  grow- 
ing simpler  as  their  distance  increases  until,  in  those  at  the 
end  of  the  building,  a  wash  expresses  all. 

It  may  not  be  possible,  in  all  cases,  to  follow  the  order  of 
the  less  important  steps  described  above. 

No  absolute  rule  can  be  given  for  rendering  a  building  in   Exceptions  to  aii 
washes  of  water  color,  for  every  drawing  presents  problems 
of  its  own. 

The  student  will  soon  discover  the  methods  of  work  that 
give   him    the   power   of   obtaining   true    effects,    and    any    individuality. 
method  that  enables  him  to  obtain  these  effects  quickly  is 
legitimate. 

Strive  to  handle  the  medium  freely.  Freedom  of  han- 
dling is  not  carelessness.  If  one  is  thoroughly  acquainted 
with  his  subject  he  can  talk  freely — if  one  thoroughly  under- 
stands his  medium  and  knows  what  he  washes  to  do,  he  can 
draw  freely. 

Plate  I.  (original  size  of  drawing,  16x24")  '^'^'^s  rendered, 
from  plans  and  elevations,  to  be  reduced  to  size  of  2x3!". 
The  student  is  advised  to  always  work  as  if  for  reproduc-   ^^'^'■k  as  if  for  re- 

c  '  1  11  11  '111  production. 

tion ;  ior,  smce  the  work  has  to  be  done  m  a  bold  manner 
to  get  the  necessary  strength  of  contrast,  he  obtains  a  power 
and  freedom  not  to  be  gained  by  working  out  fully  finished 
drawings  on  a  small  scale. 

The  above  described  method  w-as  followed  in  rendering 
Plate  III.  (original  size,  10x15^-").  pi.ite  in. 

Second. — A  very  light  wash,  same  as  sky,  was  passed  over 
the  entire  surface  with  the  exception  of  the  high  lights. 


32  Architectural  Rendering  in  Sepia. 

Third. — Still  omitting  the  high  lights,  a  wash,  same  as 
light  side  of  near  tower,  was  passed  over  the  group  of  build- 
ings and  the  street. 

Foiirth. — The  darkest  spot  (door  to  right)  was  put  in 
with  full  strength  of  sepia. 

Fifth. — A  value,  same  as  roof  of  farther  tower,  was  put 
over  all  dark  surfaces  at  once. 

Sixth. — The  roof  of  nearer  tower,  its  shade  side,  the  low 
roof  to  right,  and  the  near  wall,  including  shade  and 
shadow  of  bridge,  received  a  value  like  light  side  of  roof. 

Next  the  near  wall  in  shade  received  a  graded  value ;  the 
shade  side  of  near  tower  was  also  graded  ;  other  small  sur- 
faces were  given  light  values  that  they  might  take  their 
places  in  the  drawing,  and  tender  broken  values  passed 
over  Hght  and  semi-light  surfaces. 
Shade  sometimes  Seventh. — The  shadow  under  the  bridge  was  put  on  very 
shldo"  ^"  ^'^*-  ^"^^  allowed  to  dry  out  darker  in  the  shade,  instead  of 
shadow,  in  order  to  lift  the  bridge  and  make  it  stand  at 
right  angles  to  the  wall. 

Eighth. — The  touches  to  render  detail  were  handled  so  as 
to  assist  in  expressing  the  position  of  the  different  parts  of 
Never  forget  the   the  group.     Thus  the  stoncwork  is  fully  rendered  near  the 
oJ,y"t"  °      ^   spectator,  and  barely  suggested  in  the  distance ;  the  shad- 
dows  of  the  cornice  of  the  near  tower  are  much  more  dis- 
tinct than  those  in  the  more  distant  one. 

The  student  is  advised  to  write  out  a  description  of  the 
Plate  IV.  method  of  rendering  Plate  IV.  (original  size,  8x15"),  follow- 

ing the  order  described  above.  This  will  help  fix  the  mat- 
ter in  his  mind,  and  should  be  done  before  attempting  to 
work  out  Exercise  I. 

Exercise  I.  should  be  repeated  until  the  student  gains 
power  over  his  medium,  and  appreciates  the  meaning  of 
masses  of  shade. 

It  is  impossible  to  make  2i  facsimile  wash  drawing  of  a 
photograph,  and  it  is  not  advisable  to  work  from  photo- 


Plate  T 


Excrciscx.  3  3 

graphs  longer  than  to  oahi  the  experience  mentioned  above, 
for  the  student  is  hkcly  to  fall  into  narrow  methods  of 
thinking  and  working. 

EXERCISE   II. 

FOR    PRACTICE    IN    ORIGINATING    SCALES    OF    VALUE. 

We  will  go  a  step  further  toward  our  goal — the  concep- 
tion and  rendering  of  a  purely  original  scheme  of  light  and 
shade — and  select  from  an^'  source — architectural   pubhca 

\\  ork   from     pen- 

tion,  magazine  or  newspaper — some  simple  building  that  is      rendered  per- 
a  reproduction  of  a  pen-rendered  perspective.  specme. 

This  subject  should  be  studied  in  the  manner  and  order 
described  when  the  photograph  was  taken,  but  more  care- 
ful attention  must  be  given  the  chiaroscuro. 

It  will  be  found  that  the  shadows  are  necessarily  very 
much  alike  in  value,  and  that  much  is  expressed  in  outline   Originality  re- 

...  .  ,.  .  quired. 

where  no  outhne  exists ;  therefore  very  careful  considera- 
tion must  be  given  to  planning  the  washes  that  the  light 
and  shade  may  give  the  true  eifect.  The  order  of  work 
should  be  the  same  as  for  Exercise  I. 

As  the  student  progresses,  let  less  fully  rendered  subjects 
be  taken,  till  the  merest  sketch  will  give  him  suggestions 
for  a  problem. 

Plate  V.    (original   size,    10x14")    was   rendered  from   a    riatev. 
small  sketch  in  outline.     The  success  of  this  drawing,  par- 
ticularly, depended  upon  the  treatment  of  the  large  area  in 
shade. 

Observe  the  shadow  upon  the  ground  (students  usually  smdy  this  plate. 
neglect  to  give  the  ground  its  proper  value)  ;  the  cast 
shadow  of  the  porch  (here  is  a  case  where  the  shadow  is 
lighter  than  the  shade  with  good  effect);  the  ornamental 
frieze,  very  simple  in  the  light  and  shade,  but  more  fully 
expressed  in  the  half-light ;   the  simply-rendered   chimney 


34  ArcJiilcciitral  Rendering  in  Sepia. 

top ;  the  \\inclo\\s  expressed  by  one  flat  wash,  over  which 
are  drawn  a  few  suggestive  touches. 


EXERCISE  III. 


FOR    PRACTICE    IN    RENDERING    DETAIL. 


Detail,  however, 
is  always  sub- 
ordinate. 


Make  large  draw- 
ings. 

Plate  VI. 


Rough 

work. 


The  student  should  not  confine  himself  to  one  class  of 
subjects ;  having  mastered  the  work  suggested  in  the 
previous  exercises,  he  is  advised  to  select  a  photograph  of 
some  doorway,  loggia  or  similar  subject  (see  Plates  VI.  and 
VII.),  for  the  practice  of  rendering  detail,  as  stonework, 
carving,  etc.  Here,  again,  the  object  will  not  be  to  copy 
the  photograph,  but  to  gain  that  knowledge  and  manipula- 
tive skill  necessary  to  express  with  a  brush  the  character  of 
stone  simply  cut  or  elaborately  carved. 

But  remember  that  the  picture  is  not  made  up  of  detail  ; 
that  the  same  harmony  and  relation  should  exist  between 
the  various  parts,  and  the  same  subordination  of  detail  to 
general  effect  should  be  observed  as  in  rendei-ing  an  entiie 
building. 

Drawings  of  this  class  should  be  made  as  large  as  con- 
venient. 

The  main  idea  in  rendering  Plate  VI.  (original  size, 
18x22")  was  to  obtain  the  effect  of  bright  sunlight  without  and 
deep  shade  within,  with  the  sun  high  in  the  heavens  bring- 
ing out  strongly  the  details  by  their  shadows. 

In  subjects  of  this  class,  the  white  paper  should  be  re- 
served for  the  boldly  projecting  mouldings  in  the  light,  the 
reflection  of  light  in  glass,  and  the  glint  of  light  on  marble 
columns. 

Rough  stonework  in  shade  or  shadow  should  receive 
little  handling.  In  light,  the  whole  surface  should  receive 
a  flat  value  of  proper  intensity  to  express  its  local  color. 
With  a  very  light  value  next  draw  lines  of  separation  be- 


1' 


Plate  TT 


fxar^  PMN.-  Ht.  f|izwf//-f  fia-V 


^H 


Exercises.  35 

tween  the  stones.  Wash  a  sHghtly  stronger  vakie  on  each 
stone  separately  for  the  half-hghts,  shades,  and  shadows, 
occasionally  blending  into  the  light. 

If  the  edges  are  very  abruptly  cut  (see  voussoirs  of  arch 
in  Plate  VI.)  the  shadows  are  drawn  as  any  cast  shadows; 
but  if  the  edges  are  not  so  cut  and  the  surface  is  irregular, 
catching  the  light  here  and  there  and  casting  shadows  now 
sharp,  now  diffused,  it  is  well  to  handle  the  deep  shades  and 
shadows  with  a  dry  brush  (a  brush  in  which  there  is  little  Oniy  use  for  a  dry 
color),  with  a  value  not  washed  on  but  stippled.  (Compare 
upper  left  with  upper  right  corner  of  Plate  VI.) 

Ornament  should  be  carried  on  from  the  first ;  its  shades   omament. 
and  shadows  treated  as  parts  of  the  other  shades  and  shad- 
ows, and  as  other  detail. 

Ornament  must  be  understood  to  be  properly  expressed, 
and  every  architectural  draughtsman  should  render  full  size  Render  detail  fuii 
capitals,  etc.,  from  nature  or  from  cast,  in  order  that  he 
may  understandingly  suggest  ornament  on  the  small  scale 
necessary  in  a  perspective.  (See  top  of  monument  and 
mutilated  capitals,  Plate  VIII.,  capitals  in  Plate  IX.  and 
ornament  in  border  of  title  page.) 

In  Plate  VII.  (original  size,   15x20")  the  effect  intended   Piaie  vii. 
was  that  of  brilliant  sunshine  casting  pronounced  shadows, 
with  the  shade  appearing  rather  indistinct  in  contrast. 

The  large  area  of  light  in  the  foreground  was,  therefore, 
left  almost  white  and  the  near  shadows  kept  flat,  that  the 
eye  might  not  be  led  away  from  the  cluster  of  shafts  and 
carved  capitals  that  form  the  centre  of  interest. 

The  shadows  cast  across  the  floor  fall  at  the  proper  angle 
for  good  composition.     If  they  made  greater  angles,  were   Avoid    horizomai 
parallel  to  the  spectator,  or  were   cast  toward   him,   they      ''""'■ 
would  cut  the  picture  into  parts  and  destroy  the  present 
feeling  of  unity. 


36  ArcJiitcctiiral  Rc7idcr2ng  in  Sepia. 

EXERCISE  IV. 

FOR    I'RACTICE    IN    SIMPLIFICATION. 

Heretofore  we  have  confined  ourselves  to  rendering  simple 
subjects,  buildings  where  the  effects  were  very  readily  seen 
and  represented. 

The  student  has  found  that  the  most  difficult  part  of  the 
problems  has  been  the  simplification  necessary. 

It  is  not  probable  that  the  architect,  in  practical  work, 

A  means  to  an  end.    would  havc  occasiou  to  render  a  subject  in  the  line  of  those 

reproduced  in  Plates  VIII.,  IX.  and  X. ;  but  the  practice  in 

simplifying  infinite  detail,  in  giving  the  work  the  character 

of  the  orio-inal,  makes  this  exercise  most  valuable. 

If  the  foregoing  notes  have- been  understood,  the  fact  will 
be  readily  appreciated  that  the  rendering  of  an  historic 
monument  of  architecture  contains  all  the  problems  found 
in  the  previous  exercises,  and  many  more  that  cannot  be 
met  by  verbal  rule. 

The  student  is  advised  to  render  as  many  subjects  of  this 
description  as  time  allows,  making  carefully  finished  draw- 
ings to  large  scale. 
Plate  VIII.  In    handling   a    subject    like    Plate  VIII.    (original    size, 

18x25"),  where  the  values  are  nearly  uniform  throughout, 
great  care  must  be  exercised  in  rendering  detail.  For,  there 
being  no  pronounced  contrasting  masses  of  light  and  shade, 
the  dark  spots  may  cut  up  the  drawing,  producing  a  feeling 
of  unrest. 
Compare  with  This  drawing  should  be  compared  with  a  photograph  of 
photograph.  ^^^  monument  to  better  realize  the  problem  that  confronted 
the  draughtsman.  Notice  how  surfaces,  cut  by  countless 
licrhts  and  shadows,  are  here  rendered  in  a  wash  that, 
though  the  greater  part  are  omitted,  still  gives  what  is  most 

important — the  character. 

Notice  the  ruined  base,  a  few  irregular  washes  here  ex- 
press it ;  the  crowning  ornament,  three  waslies  express  iL ; 


^,     'Plate"¥]I[ 


i-^ 


s:  i 


■  A 


^J 


xcrciscs. 


i7 


handling. 


Character  of  line. 


the  mass  of  houses  to  the  right,  four  washes  with  one 
darker  spot  express  it.  And  further  notice,  as  an  illustra- 
tion of  one  of  the  first  principles  stated,  that  this  render- 
ing accentuates  the  essential  and  characteristic  features  by 
making  detail  subordinate. 

Plate  IX.   (original  size,   17x21")  illustrates  the  truth  of   I'late  i.\. 
the  statement  that  accessories  simply  treated  act  as  a  foil 
and  enhance  the  beauty  of  the  principal  object. 

The  first  light  wash  represents  the  sky.  A  flat  wash,  over 
which  is  graded  one  slightly  stronger,  represents  the  fore- 
ground, and  the  distance  is  treated  in  flat  washes.  Notice 
the  simplicity  of  the  shadows  upon  the  shafts.  It  is  an  easy  Example  of  simple- 
matter  to  draw  crooked  lines  with  a  brush,  but  quite  an- 
other thing  to  draw  irregular  lines  that  express  character. 

The  old  Japanese  artist  was  master  of  line  ;  his  simplest 
brush  mark  could  express  rest  or  motion.  Fleecy  clouds  in 
the  summer  sky  and  storm-driven  waves  on  a  rocky  coast 
were  expressed  by  the  same  number  of  lines,  but  the 
character  of  the  hnes  expresses  these  two  extremes. 

The  student  who  studies  character  expresses  it.  Hap- 
hazard touches  of  the  brush  never  mean  anything. 

"Artistic  touches"  are  the  final  accents  to  preconceived   Artistic  touches. 
schemes   of  expression,  added  to  give  life  to  the  drawing 
as  the  breath  gives  life  to  the  body. 

The  handling  of  these  columns  well  expresses  their 
material,  age  and  condition. 

Plate  X.  (original  size,  8x11")  clearly  shows  that  eS'ects  PUiteX. 
do  not  depend  upon  the  expression  of  detail.  Students  have 
a  tendency  to  exaggerate.  New  buildings  are  given  the  students  exagger- 
crisp,  mechanical  appearance  of  a  problem  in  descriptive 
geometry,  and  old  ones  have  their  ruinous  condition  so 
exaggerated  that  ruin  alone  is  thought  of  when  viewing 
the  picture. 


38 


Architectural  Rendering  in  Sepia. 


The  accessories. 


'  Artists  are  born, 
not  made." 


Association. 


Take  advantage  of 
everything. 


A  method  of  ren- 
dering accesso- 
ries. 


As  the  student  works  through  these  exercises,  he  finds 
that  his  power  over  the  medium  rapidly  increases.  If  he 
should  now  attempt  to  render  a  problem  like  Plate  II., 
much  less  time  and  fewer  washes  would  be  required. 

Heretofore  little  has  been  made  of  the  accessories;  sub- 
jects have  been  selected  that  required  but  little  attention 
outside  of  the  buildino^  itself.  Attention  must  now  be  g-iven 
to  this  matter. 

No  instruction  from  books  could  ever  enable  a  student  to 
interpret  nature.  If,  having  learned  the  method  of  handling 
water  color,  he  can  appreciate  the  effects  of  sunshine  and 
shadow  in  nature,  and  has  a  feeling  for  the  effects  of  masses 
of  foHage  relieved  against  other  masses  or  against  the  sky, 
he  does  not  need  to  read  a  book  to  learn  to  paint  a 
landscape. 

However,  few  of  us  are  artists.  But,  in  our  practice,  it  is 
almost  always  necessary  to  place  trees,  etc.,  about  our  build- 
ings, and  to  give  variety  to  our  skies  by  cloud  forms. 

With  our  lack  of  study  of  character,  we  are  accustomed 
to  associate  certain  shapes,  values  and  positions  with  certain 
things.  A  shape  that  in  the  sky  we  would  recognize  as  a 
cloud,  as  easily  passes  for  a  stone  if  seen  in  the  foreground. 
A  tree  in  the  distance,  represented  by  a  light  flat  wash,  can, 
by  simply  increasing  the  value,  be  made  to  appear  near.  A 
horizontal  reach  of  land  becomes  a  lake  by  drawing  in  the 
reflections  of  surrounding  objects.  The  architectural  artist 
takes  advantage  of  this. 

He  wishes  to  keep  the  accessories  simple  that  attention 
may  be  directed  to  his  building,  and  he,  therefore,  expresses 
these  accessories  in  flat  washes. 

Plate  XI.  illustrates  this  method  of  rendering  the  acces- 
sories of  a  building  by  the  use  of  flat  washes  of  color.  In 
this  work  all  things  arc  expressed  by  flat  values,  leavmg  all 
edges  sharp  and  with  no  blending  or  grading.  Effects  are 
obtained  by  the  shapes  of  the  values. 


-^  U  \ji 


m'«>---    '«..  -J 


I 


•k. 


PlatfXIL     i 


Exercises.  39 

Fig.    I    is   rendered    in    three    washes.     The    first    over   ''i^": -^'• 
everything  except  the  white  clouds  and  the  light  surfaces 
on  the  house.    The  second  is  a  value  for  shade  side  of  house 
and  for  trees.     The  third  gives  the  cast  shadows. 

Ficr.  2  is  the  work  of  four  flat  washes.  The  area 
covered  by  each  wash  can  be  seen.  Fig.  3  is  rendered  by 
five  washes  and  Fig.  4  by  six. 

It  will  be  well  to  copy  Figs.  3  and  4  of  this  plate  before 
workino-  throusfh  many  of  the  exercises,  and  then,  having 
finished  them,  return  to  this  problem,  and,  with  two  or 
three  graded  values,  render  it  with  the  power  gained  by 
additional  knowledge  and  skill. 

To  obtain  the  best  results,  the  student  should  now  work 
directly  from  nature  ;  if  this  is  impossible,  it  will  be  well  to 
render  subjects  made  up  largely  of  landscape  or  sea  views, 
sup-o-estions  for  which  can  be  found  everywhere.  (See 
Plate  XII.  These  cottages  were  rendered  from  small  pen-  mtc  xii. 
sketches  found  in  a  catalogue  of  architectural  publications.) 

The  aim  of  the  student  should  be  not  only  to  produce  a 
true  and  beautiful  picture,  but  to  produce  it  quickly.     He 
should  endeavor,  for  obvious  reasons,  to  take  advantage  of 
everything  that  will   aid   him   in    obtaining    effects    in    the      ^..i'ckiy.'' 
shortest  possible  length  of  time. 

EXERCISE.  Y. 

FOR    PRACTICE    IN    RAPID    SKETCHING. 

A  good  exercise  to  cultivate  the  power  of  quickly  decid- 
ing what  is  to  be  done  and  the  best  way  to  do  it,  is  the 
time  sketch.  In  this  the  student  limits  himself  to  a  certain  'the  time  .ketch, 
period,  and  in  that  time  attempts  to  do  a  certain  amount  of 
work.  For  example  :  Sketch  a  picturesque  sea-side  cottage 
in  ninety  minutes.  Sketch  a  clock  tower  for  town  hall  in 
sixty  minutes.    Sketch  a  gateway  for  city  park  in  two  hours. 


sketches. 


40  Architectural  Rendering  in  Sepia. 

The  ability  to  put  thoughts  upon  paper  quickly  and 
beautifully  expressed  is   of  the   greatest   advantage  to   the 

"Time  is  money."  architcct,  hol  only  froHi  an  artistic  but  from  a  financial 
point  of  view. 

Plate  XIII.  Plate  XIII.  is  a  time  sketch  rendered  in  ninety  minutes, 

and  the  two  sketches  on  Plate  XII.,  by  washing  in  the  large 

Keep   several    valucs  whilc  the  paper  was  wet  and  the  finishing  values  of 

drawings    going 

at  once.  oiic  whilc  the  Other  dried,  was  rendered  in  but  little  more 

time. 

If  these  notes  are  being  worked  through  systematically, 

as  by  a  class  of  architectural  students,  it  will  be  well  to  set 

Competition    asidc  oiic  day  per  wcck  for  a  time  sketch.     It  will  add  to 

the  interest  if  some  competent  person  assigns  the  problems, 

and,  at  the  end  of  the  time,  criticizes  the  drawings. 

This  work  will  prepare  the  student  for  sketching  from 
nature. 

Skill  comes  only  To  attain  skill,  sketch  constantly;  no  building  is  so  small 
or  simple  as  not  to  present  a  good  problem. 

When  sketching  from  nature,  do  not  be  confused  by  the 
light  and  the  apparent  importance  of  detail,  but  look  only 
for  large  masses  of  light,  shade  and  shadow. 


Art  must  always  fall  far  short  of  nature,  for  white  paper 
can  never  rival  sunlight,  or  the  pigments  of  the  palette  do 
more  than  suggest  nature's  coloring. 

In  our  work  of  rendering  architectural  subjects  in  sepia, 
we  select  what  will  add  most  to  our  buildings,  and,  since 
we  cannot  express  everything,  make  as  little  as  possible  of 
all  that  does  not  add  directly  to  the  efi^ect  of  solidity  and 
sunligrht. 


with  practice. 


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UNIVERSITY  OF  CALIFORNIA  LIBRARY,  LOS  ANGELES 

Architecture  &  Urban  Planning  Library,  825-2747. 
This  book  is  DUE  on  the  last  date  stamped  below. 


NO  PRONE  FENEWALS 


MAR  0  6  1991 

FEB  2  5   199) 
REn'D  AuHc 


;D  2.T39  9/77 


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